About the Print
“In the print Face-Off, I have taken my face and made it into a mask of Color…the tones are simply layers of ink on a piece of paper, just as skin is a layer of tissue on other tissue.”
Born October 16, 1953
About the Artist
Artist and printmaker Gayle Tanaka earned her BFA in Painting from the University of Hawaii and an MFA in Printmaking from San Francisco State University.
She exhibited her work nationally at institutions including Soho20 Gallery in New York City, El Museo in Buffalo, New York; A.R.C. Gallery in Chicago, Illinois; A.I.R. Gallery in New York City, San Francisco Art Commission in California, Chicago Cultural Center in Illinois, Olga Dollar Gallery in San Francisco, California; Hyde Park Art Center in Chicago, Noyes Cultural Arts Center in Evanston, Illinois; Jewish Museum in San Francisco, California; Newhouse Center for Contemporary Art in Staten Island, New York; Anchor Graphics in Chicago, Center for Photography at Woodstock in New York, Japantown Peace Plaza in San Francisco, Honolulu Academy of the Arts in Hawaii; and Rice Media Center Gallery at Rice University in Houston, Texas.
Her awards and residencies include a BCAT/Rotunda Gallery Artists’ Residency in Brooklyn, New York; a Knight Foundation Visiting Artist Fellowship at Brandywine Workshop in Philadelphia, Pennsylvania; an Anchor Graphics artist residency in Chicago, a Puffin Foundation Grant Award and a Kala Fellowship Award in Berkeley, California.
Suggested Topics for World History and Visual Literacy
World History, Visual Literacy
The archives of history
have manifold reference points and are opening up to
public access to offer new narratives based on the
documents and evidence that exist, including first-
person notes and recorded interviews. As new
resources become available and new evidence comes
to light, an “archival fever” has arisen among artists who
incorporate found photographs and documents into
their artwork and offer profound, documented evidence
and versions of history that may have been hidden, denied, or misrepresented previously.
Our abilities as viewers to understand the messages and connections that the artists hope their imagery will convey is largely based on the extent of our own experi- ences and information that we bring to viewing and interpreting the artwork. In many countries, these types of messages are not brought to broad public attention and are often considered subversive.